Stalin and His Influence on Artistic Conflict in the Novella «Belshazzar's feasts» by F. Iskander

Rakhmanikhalilelakhi Zhila PhD in Philology Postgraduate student, Department of Russian and Foreign Literature, Faculty of Philology, Russian Peoples' Friendship University 117198, Russia, Moscow, Miklukh-Maklaya str., 7, office 3 1042205281@pfur.ru Other publications by this author

Introduction

Fazil Iskander (1929-2016) was a Soviet and Georgian writer, known for his works in which he combined humor, absurdity, satire and philosophy. Iskander witnessed and participated in the era of totalitarianism in the Soviet Union and his connection with this period is an important aspect of his work and personal life. In the 1950s and 60s, during the period of "totalitarianism domination" in the USSR, Iskander began his literary career. His early works, including short stories and novels, were imbued with a keen sense of humor and an allegorical approach to depicting reality. He steadily faced censorship because of his open style, criticism of Soviet society and the government.

The mid-1920s and 1950s in the Soviet Union are shrouded in the shadow of Joseph Stalin, a gloomy but certainly powerful political figure. This period of time, saturated with his power, left an indelible mark on the history and culture of the country. In the world of economics, the anthem of industrialization began to sound, which, although it brought rapid economic growth, was often paid for by human suffering. The collectivization of agriculture became the initiator of tragic events, including the terrible Holodomor in Ukraine ^{[1, p. 336]}. In the 1930s, Stalin's repressions sounded like a thunderclap, accompanied by political purges and mass repressions. The Great Terror left thousands of people either in exile or put to death, which created an atmosphere of fear in the country and gave rise to the phenomenon of self-censorship ^{[2, p. 89]}. During the era of World War II, the Soviet Union joined the ranks of the key leaders of the anti-Hitler coalition. The victory in the war strengthened Stalin's political position, but there were huge human and material losses behind it ^[3]. In this maelstrom of time of the Stalin era, the country's art and culture were transformed, reflecting the deep traces of political cataclysms woven into the artistic fabric of the time.

Under the cover of the foggy vortex of the 1950s, Iskander entered the literary struggle, creating his first masterpiece— The Constellation of Kozlotur. This story, like a starry constellation, highlights his talent and contribution to his literary legacy. The fusion of Abkhazian motifs and Soviet reality, like the harmony of different instruments in a symphony, gives his work a unique melody.

Subsequently, like the magic of words, the novel in the short stories "Sandro of Chegem" opens up the unique world of Fazil Iskander to the reader. This work, claiming to be a picaresque one, became the brightest jewel in the author's literary heritage, acquiring full radiance and greatness only after the censorship bonds had weakened, and Iskander's creation could expand its literary wings to full width. In 1966, the first chapter of this literary saga had already attracted attention, but the true beauty and meaning of the novel blossomed in their full splendor only in 1973. Freedom of speech, freed from censorship, allowed the work to unleash its potential and reach the heights of literary art. "Sandro of Chegem" became not just a work, but a magical contemplation of roguish intrigues and artistic skill. Iskander put into this creation not only his talented pen, but also a piece of his soul, creating a work that deservedly won recognition not only in his native country, but also abroad. The magic of words and the literary magic of Fazil Iskander overcame boundaries, and in 1989 he was awarded the USSR State Prize for creative courage and virtuoso interweaving of motifs in this literary masterpiece. This is how the great master of the pen left his mark on the history of literature, who revealed to us the world of wonders and mysteries in "Sandro of Chegem".

The cult of Stalin's personality, which flourished in the mid-1920s and peaked in the 1950s, became an epochal phenomenon with a huge impact on Soviet society. This period coincided with the notable establishment of Stalin as the main figure of Soviet politics, with his image promoted through the media, art and literature. Stalin appeared before society as a leader superior to all his predecessors, and his words became the absolute truth. The introduction of his photographs, quotes and images into everyday life contributed to the formation of a positive image of the leader, creating a large-scale cult of personality ^{[4, p. 114]}. The image of Stalin as a historical figure and symbol of power has become an object of study for many researchers and has been embodied in the literature of the Soviet and post-Soviet period. Various writers in their works expressed a variety of creative approaches and points of view on this complex character, reflecting their views in the context of time and culture. The Soviet era, overshadowed by the cult of personality and ideological propaganda, was reflected in literature, where the image of Stalin was often presented as an indisputable leader, a symbol of the victories and successes of the Soviet Union. However, it should be noted that the peak of Stalin's personality cult was accompanied by political repression, terror and mass purges, creating an atmosphere of fear and suppression in society. In the post-war years, especially after Stalin's death in 1953, a gradual weakening of the cult of personality began, and its pronounced forms began to be criticized. During the "reign of totalitarianism" in the 1950s and 60s, when Iskander began his literary career, his works were distinguished by a keen sense of humor and an allegorical view of reality. Iskander sought to highlight other aspects of Stalin's personality in his works, violating established stereotypes. His literary legacy was influenced by the censorship of the time, remaining outside the wide public attention. At a narrow circle of cultural personalities gathered at a literary event in Copenhagen in 1988, Iskander shared his unusual view of considering Stalin's personality, stating: "We had our own affair with him. It is not for nothing that they say that an Abkhazian, as soon as he is torn from his mother's breast, tends to cling to Stalin's mustache"^{[5, p. 4]}. Thus, Iskander's literary works reveal an insistent desire to demystify and revise the image of Stalin. The author introduces subtle shades and offers alternative points of view, thereby enriching the complex portrait of this historical figure.

Stalin and the artistic conflict in the short story "The Feasts of Belshazzar"

The novel "The Feasts of Belshazzar" from the first lines of its appearance in the literary arena attracted the attention of critics and researchers, among whom the names of N. B. Ivanova, A. Sinyavsky, O. S. Kozel, N. N. Rubtsov, S. Rassadin, M. Mkrtchyan and many others stand out. They sought to penetrate into the depths of the work in order to reveal the secret aspects of the narrative, disguised behind a veil of irony, grotesque, sarcasm and symbolism. In several research papers, which we briefly review, the image of Stalin is subjected to careful analysis, as a result of which the real author's views of F. are revealed. Iskander on the personality of the Leader in the history of the USSR. It is worth noting that the role of Stalin as a dynamic factor generating artistic conflict in the novel "The Feasts of Belshazzar" has long remained in the shadow of little attention from researchers. Our goal is to carefully examine the conflicts in which Stalin plays a key role in their development, in order to better understand the artistic strategies and the impact of this character on the course of the plot.

The research of N. B. Ivanova reveals to us the literary world of F. Iskander through the prism of his work "The Feasts of Belshazzar". Of course, this study represents a significant contribution to the image of Stalin. It is obvious that the author approached the issue with high professionalism, and an in-depth analysis of the presented data is an integral part of her work. I share the author's point of view regarding the analysis presented in the work, masterfully creates a mosaic portrait, highlighting the essential aspects of contrast in celebrations and banquets. The author's ability to identify the differences between the dance of the elements, where the natural joy of the Chegem people is revealed, and the banquets of Belshazzar, where the dark shadows of fear and suspicion become noticeable, is impressive. The work demonstrates a subtle perception of moments where joyful Chegem feasts, saturated with natural emotions and love, contrast with official banquets, where violence and humiliation reign ^{[5, pp. 252-254]}. This artistic contrast represents a key element of the conflict that deserves additional research. The detailed portrait of Stalin's image, viewed by the author through the prism of grotesque and parody, is very impressive. It is remarkable to see how these artistic methods help to reveal the authoritarian character and indifference to the human dignity of the leader. It should be emphasized that the paradoxical features of Stalin revealed in the narrative give additional shades to the image of the historical character. A particularly important point is that even within the framework of a grotesque game with images, the author does not lose sight of the analysis of socio-cultural phenomena. This adds depth and importance to the study, making it a significant contribution to understanding historical figures and their impact on society. This research represents a valuable contribution to the field of literary studies and will undoubtedly prove to be a useful resource for supporting and developing current knowledge in this field. It should be noted that the motif of feasts becomes a metaphor for understanding the impact of power on human psychology and cultural aspects of society. It seems to me that the analysis of "Belshazzar's Feasts" by the author not only expands our perception of satirical and grotesque techniques in literature, but also emphasizes the importance of language and narrative in conveying complex socio-cultural realities.

The research presented by M. Mkrtchyan is a masterful analysis of F.'s artwork immersed in art. Iskander's "Belshazzar's Feasts". Considerable attention is paid to the application of the perspective of intertextual relationships, which gives the work additional depth and complexity. One of the great achievements of this research is the unraveling of the artistic image of the leader in the work using an intertextual concept. Intertextuality, in accordance with Yulia Kristeva's proposal, is introduced into literary studies, creating complex connections between texts and forming a unique literary field. This term embodies the process of interaction of texts, their mutual influence and interweaving. Intertextuality blurs the boundaries between works, giving them the ability to engage in dialogue, inspire and enrich each other with meanings. As a result, a multifaceted and lively literary landscape arises, where each text acquires a new meaning in the context of others ^{[6, p. 228]}. In support of the study, it can be said that the presented analysis masterfully reveals the biblical associations in the title of the work. This opens up an opportunity for the reader to examine the work in the light of the biblical motives of power, authority and punishment, giving it additional layers of depth and meaning. The importance of the study in the context of the use of intertextuality and allusions to literary and historical works in Iskander's work is also noted. This analysis enriches our perception of the plot and expands our understanding of the depth and complexity of the text, as well as reveals Iskander's author's position in relation to the personality of the leader of the peoples. The author's explanation, where Stalin appears in the image of a criminal and tyrant, controlling fear and violence, sheds light on various aspects of his personality in the context of the work. This article explains in detail the key ideas and relationships underlying the "Belshazzar Feasts", demonstrating how intertextuality and literary allusions are used to critically analyze the political regime, revealing its fear and violence. ^{[7, pp. 47-48]}.

The scientific research conducted by K. R. Tskoliya is a literary ascent into darkness and tragedy, shrouded in the pen of Fazil Iskander in the novel "Sandro of Chegem". The author, with the dexterity of a literary wizard, reveals to the reader the confusing paradox of the image of Joseph Stalin, paying special attention to the pages of the chapter "The Feasts of Belshazzar". In my opinion, this chapter turns into a theater of manipulation and humiliation, where Stalin performs his sadistic symphony of power. The author skillfully demonstrates that F. Iskander, being a master of verbal images, deftly identifies parallels between Stalin's gloomy appearance and the literary hero Sandro. This allows him to highlight the complex moral dilemmas that the characters face, creating a unique juxtaposition between reality and the artistic world of the work. ^{[8, pp. 62-63]}.

Following these research papers, let's pay attention to the main topic of the article: the analysis of Stalin's role in the formation of artistic conflict in the novel "The Feasts of Belshazzar". He acts as the main core, without whose participation the plot of the story does not develop.

An artistic conflict in literature is a clash of conflicting forces, ideas, interests, or personalities within a literary work. This element of the plot is one of the main building blocks of the dramatic structure and serves as the driving force of the narrative. Artistic conflict creates tension, dynamics and interest in the development of the plot. In the literary process, according to Jung's concept, conflict can be considered as binary archetypes, the essence of which is a dynamic clash of antagonistic forces, similar to the "cross" or "mandala". This conflict becomes a kind of integrated system, where binary oppositions, like archetypes, create tension and complexity of the inner world of the text, influencing the development of the plot and the characters of the characters ^{[9, p. 74]}. Antinomy in a work of art is expressed through conceptual contradiction, contrasting ideas, motives, images or themes. This literary technique serves to create dramatic tension and its resolution, enriching the content of the work. According to A. K. Kovalenko, the antinomic system in artistic creativity is similar to a crystal, which, dissolving and remaining a kind of weightless field in solution, preserves the axis system. Each time, this system appears as individual and unique. The extraction of this system from the "solution" of the work, as well as the study of its individual originality, is the main task of literary analysis ^{[10, p. 12]}.

In the literary canvas "The Feasts of Belshazzar", the key events and the main characters are closely intertwined, giving the work a noticeable dynamic. Uncle Sandro, transformed into the commandant of the Central Executive Committee and joining the Abkhazian song and dance ensemble, becomes the center of attention around which the plot develops. His virtuoso dancing at feasts, marked by Stalin's attention, gives the work energy and intrigue. Nestor Lakoba, in the role of the leader of the ensemble and the host of the feast, becomes the key character around whom events revolve. Recognition and praise from Stalin give him even greater importance, shaping the direction of the plot. Stalin's influence as the leader of the Soviet Union permeates events and characters, highlighting his interest in Lakoba and his important role in the development of the plot. Stalin's instructions and attention delight those present, giving an additional impetus to the development and twists in the plot. The song and dance ensemble, including Uncle Sandro, represents talented dancers whose performances at the feasts fascinate Stalin and other participants, enriching the plot and adding elements of art and culture. An important motif in the writer's artistic work is the feast, which is the central element of the plot. Descriptions of a feast full of meetings, toasts, songs and dances create an image of an event imbued with joy and fun. According to N. Ivanova, the motif "Feast", considered as a symbol of joy and celebration, fits into the plot structure of the work, introducing deep cultural and social aspects into the text ^{[5, pp. 252-254]}.

In the novel "The Feasts of Belshazzar" by F. Iskander, the typology of artistic conflict has a profound effect on the structure of the plot, giving the work a multifaceted and rich character. The internal conflict that arises in Uncle Sandro becomes one of the central points of the narrative. The internal contradictions of his thoughts and emotions take on special significance, illuminating the moment where he reflects on his long silence, waiting for recognition. The question of whether he regrets his silence or waits for recognition from ungrateful descendants adds complexity and depth to the portrait of the main character. The social conflict in creativity manifests itself through the interaction of characters. Stalin's speech about family ties in the Caucasus causes social problems and contradictions, which are discussed by the secretaries of the district committee. This creates tension and reveals the sociocultural aspects of the relationship between the characters. The conflict of power gives the work depth and drama. The scenes where the characters face issues of power and political intrigue highlight the complexity of the characters' interactions. Stalin's role in creating tension between Beria and Lakoba, forcing Beria to drink to Lakoba, becomes a key moment reflecting the political struggle and the influence of power on the characters' relationships. Thus, the typology of the artistic conflict in the novel by F. Iskander becomes an integral element of the formation of the plot, revealing the complex internal and external contradictions of the characters, enriching the artistic landscape of the work.

In the literary work "The Feasts of Belshazzar", attention is paid to several key conflicts that embody various aspects of human destiny. First of all, the focus is on the confrontation between the individual and the collective, which the main character, Uncle Sandro, is experiencing. By joining the ensemble, he finds himself in a situation where he is forced to comply with established rules and expectations, which calls into question the preservation of his unique personality in the context of the collective. This internal conflict enriches the work, forcing the reader to think about the balance between self-expression and social conformity ^{[137, p. 9]}. Another important conflict is the clash of personal and political interests, which is revealed through interaction with political figures such as Stalin and Beria. Their own ambitions and interests may contradict each other, which is reflected in dialogues, for example, in Beria's question to Stalin about Tsulukidze ^{[11, pp. 153-154]}. This conflict adds depth and complexity to the characters, and also allows the author to reveal the dynamics of power relations and intrigues. An additional layer of conflict is represented by the clash of past and present in the lives of the characters, especially Uncle Sandro. Their adaptation to new conditions after joining the ensemble and interacting with Stalin requires them to reconsider their past and accept changes. This aspect reveals complex personal transformations and gives the novel a deep psychological touch ^{[11, pp. 135-137]}. Thus, the conflicts inherent in the structure of artistic creation not only structure the plot, but also reveal deep aspects of human experience, making the work rich and multifaceted.

In the novel "The Feasts of Belshazzar" by F. Iskander, Stalin's personality is recreated as an outstanding hero whose influence penetrates deeply into the artistic conflict and the development of the plot. Greatness and reverence for this outstanding leader permeate his every gesture and spoken word, giving the work a special atmosphere. Stalin becomes an integral center of attention at the holidays, imperiously dictating the situation and directing artistic performances. The symbolic moment when Stalin raises his hands in a pleading gesture, metamorphoses into an order for others to stop talking and listen carefully to the song being sung. His reactions, whether approval or disapproval, have a significant impact on the atmosphere of a public meeting ^{[11, p.150]}. The image of Stalin, carefully worked out in the work, gives the text deep semantic shades and emphasizes its key importance. The members of the ensemble, recovering from excitement, look for Comrade Stalin with their eyes, personifying their appreciation and recognition ^{[11, p. 137]}. Stalin holds a key position in relations with the main character, Nestor Lakoba, a member of the ensemble who acts as a presenter at the holidays. This choice of Stalin raises Lakoba to an important height, having a significant impact on the direction and form of artistic performances. Stalin becomes a favorite and chosen one, influencing the character and style of Lakoba's speeches ^{[11, p. 137]}. Stalin's presence also provokes discussions among other characters. Conversations about the leader's appearance, his relationships with colleagues and his role in shaping the nation reflect complex relationships and ambivalent feelings towards him. Stalin's overall impact on the events of the "Belshazzar's Feast" is revealed as a significant factor forming an artistic conflict, filling the work with emotional saturation and complex relationships between the characters. In the novel, he introduces the dynamics of several conflicts, penetrating deeply into the political and personal aspects of the plot. Personal and political interests collide in the image of Voroshilov, whose words evoke a reproachful look from Stalin. This moment becomes a mirror of the conflict between Voroshilov's individual aspirations and Stalin's political expectations, filling their relationship with a tense atmosphere ^{[11, p.137]}. Tension and conflict are deepened by mutual jokes and teasing between Stalin and Kalinin. Despite the outward friendliness, these manifestations hide some tension under the surface of their relations, possibly related to political intrigues ^{[11, p. 145]}. The conflict between Stalin and Beria manifests itself in the attitude towards Lakoba, who expresses dissatisfaction with Beria, seeking Stalin's sanction for his political maneuvers. Here the issue of political ambitions and mutual distrust is raised, adding complexity to the overall dynamics of the work ^{[11, p. 154]}. The members of the ensemble face a conflict of expectations and aspirations, showing sincere joy at Stalin's presence, but at the same time feeling the pressure to meet his expectations. This conflict creates tension, affecting the dynamics of the relationship between the characters ^{[11, pp. 137-138]}.

In the deep inner conflict of Uncle Sandro, the impact of Stalin is revealed, weaving complex interweaving of feelings and internal dissonance in his emotional world. The realities of Stalin's power are manifested through a number of key points that cast light on the emotional fluctuations and internal contradictions of the main character. The initial important episode is Uncle Sandro's reaction to Stalin's frowning face, which inspires him with surprise and perplexity. This moment serves as the starting point of an internal conflict, where the main character begins to ask himself questions about Stalin's rapidly changing mood and the possible consequences for their relationship. The internal dialogue triggered by this scene makes Uncle Sandro worry about potential changes in his relationship with the political leader. A fragment from the novel illustrates this point: "Stalin frowned. Uncle Sandro was again surprised at how quickly his mood was changing" ^{[11, p.140]}. And so, the inner conflict of the hero, imbued with the influence of Stalin, reflects complex emotional reactions and internal dilemmas in the context of their power relations. Another key episode is the moment when Stalin orders the performance of the chosen song to begin, causing Uncle Sandro to feel relieved, and the hall is filled with sighs of satisfaction. The importance of this point lies in how Stalin's influence can affect the hero's confidence and self-esteem. This episode symbolizes an internal conflict in which the character experiences how changes in Stalin's moods can affect his production and the perception of others. A fragment of the text emphasizes this point: "But he suddenly raised his hands in a pleading gesture: they say, leave me alone, let me listen to the song. Stalin sat with his head leaning heavily on one hand and clutching an extinguished pipe in the other" ^{[11, p. 150]}. Consequently, Stalin's influence on Uncle Sandro's internal conflict is revealed in the dynamics of his emotional reactions and inner experiences. Interacting with a political leader generates uncertainty and anxiety, but also inspires confidence and relief, highlighting the complex nature of the main character's internal conflict. There were shadows of doubt in Uncle Sandro's eyes as his gaze met Stalin's frowning face. This uncertainty, like an unknown wind, whispered about the upcoming variables. But suddenly Stalin raised his hands in a pleading gesture, ordering the performance of the song to begin. The worry in Uncle Sandro's eyes turned to relief, and the hall was filled with sighs of satisfaction. This was how the confidence was born that even in the midst of political intrigue, moments of harmony could be found, and uncertainty became part of the complex dance of emotions in his soul.

Stalin's influence on Uncle Sandro's internal conflict is manifested in the dynamics of his emotional reactions. Meeting with a political leader causes uncertainty and anxiety, but also inspires confidence, highlighting the complex nature of the internal conflict. Uncle Sandro's look at Stalin reflects shadows of doubt, but the leader's gesture and the beginning of the song transform anxiety into relief, forming confidence in harmony even in political intrigues.

Conclusion

In the artistic work "The Feasts of Belshazzar" by F. Iskander, Stalin's influence on the artistic conflict penetrates deeply and multifaceted, bringing its dynamics to both the personal and political aspects of the work. Not only a political leader, Stalin acts as a key catalyst for events, forming complex relationships between the characters and highlighting the internal conflict of the main characters. Uncle Sandro's emotional fluctuations, caused by the instability of Stalin's moods, create an atmosphere of uncertainty, becoming the starting point for internal dialogue and self-knowledge of the hero. Uncle Sandro's reaction to Stalin's frowning face is a key point highlighting the complexity of the relationship with the political leader. Stalin's influence is also evident in the dynamics of the characters' external relations, emphasizing the complexity of political intrigues and adding new layers to the artistic conflict. Stalin's influence in the writer's artistic work reveals the complex nature of the artistic conflict, influencing the inner experiences and interactions of the characters. Personal and political interests, ambitions and expectations are intertwined, creating a rich texture of the work, where historical reality is intertwined with the personal dramas of the characters.